When Bob Schmertz’s many devoted fans listen to this, his second group of recorded songs, they will realize that much water has gone over the Emsworth Dam since Monongahela Sal locked through in 1949. When they hear the 1955 version of Monongahela Sal, the only song carried over from the first set, they will note that something new has been added: his minstrelsy has been augmented by other voices and instruments.

It is a gay and tuneful company that includes the voice of his daughter, Gretchen, guitarist and folk singer in her own right, and the flute of his son, Jack, one time flutist and piccoloist of the Harvard Band. We also hear the First Ballad Trio which has performed at National Folk Festivals in St. Louis and has recorded for the Voice of America. The Trio includes Vivien Richman, guitarist, folk singer and lecturer, Eero Davidson cellist, lecturer, and folk singer, and his son, Jo Davidson, guitarist, banjoist, bagpiper and folk singer.

Originally united by the common bond of making music for their own delight, it was inevitable that this sextet should be in demand for public performances and thus give pleasure to many by their infectious enthusiasm. Yet each has his daily responsibilities and looks upon his avocation as a thing apart. This spirit is most happily expressed in the new collection of Schmertz songs.

Bob’s songs have hit the big time since the appearance of the first album. Their fresh originality attracted the attention of Burl Ives who recorded Noah Found Grace in the Eyes of the Lord for Columbia Records and a children’s song Quack, Quack, Paddle-Oh! for Decca Records and has sung many others in concert. Other singers and groups, such as The Men of Song, have spread the popularity of the Schmertz ballads throughout the country.

In the meantime, Bob has continued to compose without concern for the conventions and clichés of professional song writing or the obsession of achieving a popular “hit.” Unpredictable and unspoiled, he has widened the scope of subjects beyond those suggested by his first love, architecture, which he continues to teach and practice through the day. He deals with squirrels and catfish, local history and landscape gardening, college spirit and knight errantry. Of great appeal are his religious subjects, some in the mood of the “spiritual,” others in a grave and tender style.

This recording reflects the new advances in sound fidelity and all thirteen songs are contained on a single long-play record. The jacket cover design was drawn by Bob’s talented daughter, Mildred, a graduate architect, who thought that all the Schmertz children might as well get in the act.

CHARLES M. STOTZ

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Recorded by George Heid Productions
William Penn Hotel Studios
Pittsburgh, PA

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